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Home 3D Designing Marvelous Designer 7. This powerful application will allow you to design real looking 3D garments for different characters. Moreover, setup file is completely standalone and also its an offline installer. Review of Marvelous Designer 7.
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Chapter 4: Who is this tutorial for? This workflow overview is addressed to every CG artist who is interested in refining garments created in Marvelous Designer and preparing the mesh for texturing, rigging or animation. Even though I will proceed with the jacket created in part 1, you can apply this process to any piece of clothing made in MD.
Technical requirements: MD version 7. Subscribe to the 3DGladiator newsletter at the top of the page to receive an email with the download link. However, due to the way MD calculates geometry, the resulting mesh is nothing but a rough foundation that needs further processing. When you export garments from MD and bring them straight to ZBrush without any previous adjustments, you are usually confronted with the following problems: MD uses particles to simulate physical properties of cloth.
Imagine these particles as dots. By connecting the dots, you get a simple, triangle mesh. Consequently, this also increases the number of triangles and, therewith the mesh density. Randomly placed triangles are not very suitable for sculpting. A quadrupling function is available in MD, but for a logical and clean mesh topology, the feature is pretty much useless.
MD achieves this by averaging the surface normals at any point on the mesh; similar to applying smoothing groups in 3DS Max or Maya.
If you open the mesh in ZBrush, you will notice that the geometry is not longer as smooth and detailed, due to the way ZBrush renders objects and deals with surface normals. No matter how low you set the particle distance in Marvelous Designer, the mesh still lacks resolution. Fine details tend to be missing and surfaces will appear rough and incomplete. As soon as you subdivide the mesh or smooth it, holes become visible. For precise sculpting, the mesh needs to be clean and closed.
At the very least you need to have complete control about how the geometry gets exported, so you can build a pipeline upon it. MD allows us to create very realistic drapery. As a result, shapes become quite complex very quickly and retopologizing folds by hand can eventually become extremely time consuming or even impossible after all. Because of very complex and overlapping shapes, retopologizing the mesh by hand is not an option. You need to apply an automated, or at least semi-automated retopologizing method to make it work.
Luckily, different workarounds exist for all the issues mentioned above. Continue reading and I will show you how to overcome these obstacles so you can use the meshes generated in MD as solid foundation for great looking 3D clothes. These steps are crucial for both methods described in chapter 3 and 4.
So, read them carefully! Preparing the scene: This is where we left off in the first part of this tutorial series. The model consists of a lot of different elements. Some of them are hidden underneath the top layer and serve for simulation purpose only; like the inner patterns of the sleeves.
For exporting, we aim for clean, closed, connected, one-sided patterns with equal mesh density. Not all elements that were necessary for simulation are relevant for sculpting. The outmost layer of fabric is usually the only part you need. Double-sided components like the inside of the jacket or the inside of the hood can be reconstructed later on. This is what the scene should look like at the end: For instance, delete the inside patterns of the jacket if your character wears it with front zipper closed.
This let you to see the patterns as one-sided geometry. A dark color indicates triangles turned away from light and therefore represents the backside of a surface. If you encounter any surface normals that point in the wrong direction, right click on the pattern in the 3D window and select Flip Normal. In doing so, you lose the zippers, but the simpler the patterns are constructed, the better auto-retopologizing works. This usually happens when you delete patterns that were created via the Layer Clone function.
Here it is necessary to restore the missing sewing lines and run Simulation Spacebar for a few seconds to sew the pieces together again. Check the entire model and make sure all parts consist of equal mesh density. And last but not least, turn the mesh from triangles into quads. This is not necessary when you plan to retopologize the garment, but I recommend doing this if you plan on following the procedure described in chapter 3.
Depending on the complexity of the scene, the conversion can take a few minutes. What you need to know: To keep the ZBrush file organized, export main drapery, secondary elements and details like stitches and buttons as separate OBJs. In ZBrush you can import and easily combine them as subtools later on. Exporting the garment with thickness may seem logical at first, but it will limit your options to define and vary the thickness in the next step.
So, I suggest exporting the cloth as a thin, one-sided surface. If you decide to save the mesh with thickness anyway, you can adjust the thickness by selecting the corresponding fabric in the object browser and changing the Thickness Value in the Physical Properties tab at the very bottom. Choose a filename and location and make sure the settings look like the ones in the screenshot below.
Depending on the method described in chapter 3 and 4, select Unweld or Weld respectively. The same goes for the UVs. If you decide to follow the method in the next chapter, no UVs are needed, and you can leave welded checked. When using 3DS Max, I prefer to change the scale from millimeters default to centimeters. For ZBrush, the scaling is not relevant. This way I can add and adjust the thickness independently from the main patterns in ZBrush.
Select the pockets, pocket flaps, the flaps on the sleeves and the hood strings and export them with the same settings as before. Next, export the tertiary elements as a separate file.
One contains the main patterns, the second one the pockets, flaps and strings, and the third one, the stitches and buttons. This method is perfectly suitable for creating quick concept sculptures or for garments that need to be 3D printed in the end. The MD mesh as a starting point In the previous chapter, we turned the mesh from triangles into quads.
I want to make you aware of the advantages and drawbacks of this step before we combine the OBJs into subtools and start sculpting. Quads are much more suitable for sculpting, especially when you add subdivision levels.
Triangles tend to result in spikes that are hard to smooth out. By turning triangles into quads, Marvelous Designer creates a nice and consistent loop around the edges of every pattern, which prevents the cloth from fraying around the edges when you divide the mesh.
Exporting quadrangulated meshes generate smaller files as they consist of fewer polygons. Unfortunately, unlike triangles, quads tend to smooth out fine details.
The resulting mesh does not remain crisp. MD tends to become super slow when dealing with quads. Synchronization after deleting patterns or saving the entire scene can take forever, at least on my workstation. Import and combine all OBJs into one subtool. As the mesh should be a closed surface consisting of connected patterns, check for holes and open seams right after importing.
Turn on Dynamic Subdivisions by hitting the D key on your keyboard, or enabling Dynamic in the Geometry tab. If you encounter an error message, scroll down to the very end of the Geometry subpalette and click on Fix Mesh first. In case you come across any issues, go back to MD and check the sewing. Do the same for the subtool with the buttons and stitches.
We do that with the help of the Panel Loops feature as it allows precise control. In the Geometry subpalette, make sure the settings are set as follows: When pressing the Panel Loops button, ZBrush adds thickness to the inside of the mesh, with a clean loop between the inside and outside panel.
Each element has its own polygroups. Of course, the tips do not only apply to this piece of clothing, but any thin, two-sided mesh. What you need to do: The smooth brush usually thins out the area between front and back panel.
Take a look at the GIF animation below. First, it is necessary to insert an additional edge to the loop. Select the ZModeler Brush, hover over the loop, press spacebar, choose Insert and Single Edge Loop from the dialog box and insert an edge. Repeat this process for all patterns that increased in thickness due to the Panel Loop function. Theoretically, you can insert this additional loop automatically by setting the Loops value to 2 before applying Panel Loops. Next, press and hold Shift to activate the smooth brush, open the brush palette, scroll down to the Smooth Brush Modifiers subpalette and set the Weighted Smooth Mode to 6.
This way the brush still smooths the mesh, but respects the borders of the polygroups to maintain the line along it. The GIF animation below illustrates that effect. To return to the standard smooth brush, simply set the Weighted Smooth Mode back to 0.
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Chapter 4: Who is this tutorial for? This workflow overview is addressed to every CG artist who is interested in refining garments created in Marvelous Designer and preparing the mesh for texturing, rigging or animation. Even though I will proceed with the jacket created in part 1, you can apply this process to any piece of clothing made in MD. Technical requirements:
VIDEO: Preparing the scene:
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